"Five bodies, the characters and a dancer, trapped in a raw urban space meet with the audience and share a truth about human experience. Are they four characters, or a man and a woman, each cut in half, or perhaps just one blasted mind? No set, no props, no special effects, no artificial sound. A meeting. A crave".

We based our interpretation on the idea that A and B are the same man and C and M the same woman, but in different phases in their life, or even in reincarnated forms. A & C is the young couple; B& M the later one, the next reincarnation. (Some references out of many, that led us there: “If you commit suicide you’ll come back go through it again”, “you keep coming back”, “haven’t we been here before?”, “you are not my mother - we were many things”. ) As the years have gone by, the relationships have transformed. A, who is initially the abuser, ends up in the position of the victim, through B’s character. Similarly, C who is the victim at the beginning of the play, is the one pursuing B at the end through M. The shape of the relationship is repeated, like a motif, although the roles are switched.

B is a Boy, not necessarily in age, but in attitude; he doesn’t want to think, he wants to burn out. A is the Abuser, M craves Motherhood, and C is the Child, not necessarily that young, but stuck in the events of her childhood. In our version, the couples do interact; for example B warns A not to make the same mistake, and M tries to protect C as she is the child inside her.

The space is an old can factory, a deserted, sparse and dilapidated setting. The brick walls are all white, with paint peeling off the damp walls, and the huge factory windows have all been blocked off. We use one chair as the set within this space.

In the actors’ movement we use a lot of repetition as reoccurrence, and the desire to break patterns, is something the script evokes, as the characters seek ways to “begin again” and this time make the relationship work. We also use repetition to specify the relationships, as the gestures create physical links.

One of the couples (which means both of them, as one couple exist inside the other, in their heads) exist in a psychiatric hospital. Part of the script is addressed to the audience, asking for help, understanding or acknowledgment, part through the walls to the doctors and nurses, part to each other and part to themselves.

We felt however, that there was another level to the text that we gain as a reader, but that can be lost for the viewer. So we added a dancer to be this abstract and dense level of the play. She is all the characters; she is the mind in which Crave occurs. She makes cycles around them and is invisible to them, as she represents their internal life: she operates on a different level of reality. In A’s monologue for example, A leaves the room and screams the monologue to C from the other side of the wall. M tries to locate the source of the voice in a systematic way so that she can make it stop. C knows it’s in her head and panics; B tries to pacify her but, as it doesn’t work, goes into the next room, beyond the wall, to fight A, through which the monologue continues. At this point the dancer is masturbating on the floor poised between ecstasy and terror. The dancer shows the viewer that C can’t stop the pattern she is part of, because that’s what she wants; she craves abuse, as that’s what she has been taught love is, even though, intellectually, she hates it. (She tells A “you get mixed messages because I have mixed feelings”, or when A lists all the terrible things he’ll do to her and ends up saying “I have lost you now,” C replays “GOT ME.”)

We also added two musicians in the space, not to escort the action but to add one more level. They use the chords of a deconstructed piano (it’s like a huge harp), a viola, a violin and a plastic toy piano among other things.

At the end all actors walk through the audience out of the space in ecstasy in the act of suicide (the door is the one that separates life from death). The dancer steps into the center of the space for the first time, dancing in circular movements as if flying; they are finally free. As the door slams behind them the audience is left in silence and darkness.

We too discovered that the audience should keep a distance from the event in order to witness it, so we separated them from the performance space. We’ve had one preview so far and the audience could hardly breathe, even at the points of humor it was too hard to laugh."